Your webpage mentions Nancarrow and Zorn.  But I think I'm hearing you talk here to the Harley Gabor of "The Winds Rise in the North."  That said, now I'm wondering if that influence is expressed by a generation of composers who don't even know the name?

When I think I understand the textural limitations you're working with, you then have like ... these simple harmonic segments

This weeks prompt really intereted me...  I recorded the sound of my coffee grinder as I ground my morning beans on Friday morning. I had just read the Disquiet email a few minutes earlier after waking up and knew later on Friday I would have time to take part in the challenge if I wanted. I quickly made a recording of my morning grinding of coffee but wasn't till after I noticed I had left the radio playing in the kitchen.

After lunch on Friday I sat down and began to make this, cutting up the sounds of the coffee grinder and transposing the sounds and adding other musical sounds. I wanted to do something upbeat and fun and quite noisy! 


Disquiet Junto Project 0487: Carillon Quotidian
Assignment: Turn a recurring sound from your life into music.

This project was developed by Marty Petkovich (aka K Joule) as part of the celebration of the upcoming 500th consecutive weekly Disquiet Junto project.

Step 1: Identify a recurring sound in your daily life that isn’t generally considered musical. Try to locate a sound that you would normally ignore: the hum of the dryer, or the way the car trunk resonates when you drop it closed, the sound your boots make on certain stairs, the sound of the water coming out of the kitchen tap, etc.

Step 2: The goal is to explore the innate musicality of the sound you identified in Step 1. When recording the sound identified in Step 1, please keep in mind the effort may require some production techniques, because you want to try to isolate it as best as possible.

Step 3: Make an original piece of music employing the sample you recorded in Step 2 of the sound you decided upon in Step 1. Transpose the recorded sample and compose a short theme to use as the central voice in your composition. Complete your piece with other instrument lines as needed.

Quotidian Coffee Grinder [disquiet0487]

A light without flame drifts through dreamy waters extended version. Haunting glow. More music at www.caricatunes.com.

Phantom Lantern III

Concerto for Violin Solo and Orchestra

Recording performed by ORF Wien Modern, Carolin Widmann and Sylvain Camberling

First performed at Darmstadt Summer Course 14. August 2016, Radial System Berlin and Weimar Festspiel by Carolin Widmann, Sylvain Cambreling, Junge Deutsche Philharmonie and dancers from Sasha Waltz and Guests. 
Choreography by Antonio Rúz.

https://issuu.com/editionpeters/docs/ep_12015r__rebecca_saunders__still_

Still (2011)

Text written by Paul Griffiths. Music composed by Trevor Bača.

This an unmixed recording of the world premiere performed on 13 January 2020 at Zipper Hall in Los Angeles, California.

Performers in this recording: Paul Holdengäber (narrator); Christine Tavolacci (bass flute); Dustin Donahue (percussion 1); Sidney Hopson (percussion 2); Cristina Montes Mateo (harp); Andrew McIntosh (viola); Ashley Walters (cello 1); Derek Stein (cello 2); Kathryn Schulmeister (contrabass 1); Scott Worthington (contrabass 2); and Jonathan Hepfer (conductor).

This commission has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.

Program note written by the composer:

The title — taken from Paul Griffiths’s text — is about an experience of longing, and recollected love. Though it is harmony that constitutes the object of this recollection, what harmony means turns out to be complicated: the lover, the beloved, memories of place, perhaps the act of remembering itself.

I asked Paul Griffiths to write a new text for this project because of the beautiful ways that his poetry and prose disappear into each other. Griffiths’s writings for other composers combine astonishing images according to a richly combinatorial way of working, composerly in itself. I wanted to compose with text that moves in these ways — geometric and fantastical — that immediately suggest new ways that music can start, stop and loop back on itself.

I hope listeners hear several different stories being told in the music at the same time. The text tells a story of remembering at the same time that it tells a story about the way that memory works. The sounds in the music tell a story about discovering the beautiful-but-strange at the same time that the sounds tell a story about forgetting what we have discovered. When the words and the sounds wrap around each other, I hope you can hear flashes of a world that houses our loves, our sadnesses and our strange stories together.

The most exciting parts of the piece are a series of moments when the narrator has just begun to speak and — just as suddenly — surrenders back to the music. Perhaps the most beautiful parts are alien chords that appear from darkness — the harmonies. The most surprising part of the piece comes at the end.

( H A R M O N Y ) (2019) for narrator & nine players

Léo Dupleix - synthesis, voice
Félicie Bazelaire - double bass
Stefan Thut - cello
Fredrik Rasten - e-bowed guitar, voice

Recorded live by Stefan Thut in Säulenhalle, Landhaus Solothurn on 28th of June 2020


score:

http://fredrikrasten.com/wp-content/uploads/2019/01/Fuse-modulations.pdf

Fuse modulations - excerpt

A warm night with an easterly wind and full moon and small flocks of Greater white-fronted Goose and Barnacle Goose migrating over a small forest beside the shore near our house in Makholma Finland. Recording from 02.45-03.00
Headphones recommended.

(MKH8020 ab80cm, pointing upward, 24/48, +10dB in post, flac)

Jan Eerala Finland

Arctic Geese migrating - 4/10/2020 - Makholma Night

Charlotte Munn-Wood - Violin
Lauren Siess - Viola
Aliya Ultan - Cello

2020

Yesterday; a point of departure

Made using only the Korg Gadget for Nintendo Switch

Pink Dalmatian

Crunchy Twister-LOFI Blister-Jungle Fissure

Dan Shafer is a Milwaukee journalist who has worked at the Milwaukee Business Journal, Milwaukee Magazine, and BizTimes Milwaukee. He’s also written for The Daily Beast, WisPolitics, and Milwaukee Record. Now he writes and publishes The Recombobulation Area online. Yesterday’s column was entitled Ron Johnson, Conspiracy-Driven Wisconsin Republicans Bear Responsibility For the Pro-Trump Insurrection at the Capitol. We’ve got him on the phone to talk about how Wisconsin Republicans have been involved in recent efforts to de-legitimize the November election (just the Biden/Harris part, actually) and their connections to the insurrection at the Capitol.

Journalist Dan Shafer on why conspiracy-driven Wisconsin republicans should resign

zoom live recording at Arboretum Festival, August 19th 2017

arranged for 11 strings
Forest Strings Ensemble

Carissa Klopoushak
Marc Djokic
Andrea Armijo Fortin
Heather Schnarr
Hilda Cowie
Marjolaine Lambert
Marlena Pellegrino
Thaddeus Morden
Raphael Weinroth-Browne
Sonya Probst
Paul Casey

Yesterday; a point of departure

Anthony J. Stillabower

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